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Issue 161


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The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post. All text and layout is the copyright of Future Publishing Ltd. Nothing in this magazine may be reproduced in whole or part without the written permission of the publisher. All copyrights are recognised and used specifically for the purpose of criticism and review. Although the magazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. Photoshop is either a registered trademark or trademark of Adobe Systems Incorporated in the United States and/or other countries and is used with express permission. If you submit material to Future Publishing via post, email, social network or any other means, you automatically grant Future Publishing an irrevocable, perpetual, royalty-free licence to use the material across its entire portfolio, in print, online and digital, and to deliver the material to existing and future clients, including but not limited to international licensees for reproduction in international, licensed editions of Future Publishing products. Any material you submit is sent at your risk and, although every care is taken, neither Future Publishing nor its employees, agents or subcontractors shall be liable for the loss or damage.

© 2017 Future Publishing Ltd ISSN 1747-7816

Masks aren’t the flashiest feature of Photoshop, but they are absolutely essential to any professional-grade work in the program. This issue, we’ll reveal to you the many secrets of masks, and our panel of experts will show you how to master them to make any type of imagery take that all-important step up from good to great. We have a special treat this issue as well, in the form of a ten-page best-of feature, where we present our favourites from the year and get our artists’ insight into each unique creation. That’s complemented by our usual wide range of tutorials, ranging from using just about every tool in the box for a dynamic basketball image (28), or mastering vector shapes and layers for a stylish poster (22), to turning your mobile snap into a vivid portrait (88). We also bring you your recommended monthly dose of reviews, interviews and galleries. We hope you enjoy the issue!

Erlingur Einarsson Editor


Contents Co

Essentials 06 FileSilo This issue there are over 260 free resources for you to use

gallery 08 Trending Check out some of the most stunning artworks trending this month

gallery 10 Readers’ Take a look at what your fellow

readers have been making this issue

challenge 12 Readers’ Win the great AKVIS Charcoal software worth $69!

Master the art of 14 Feature: masks in 24 hours

Become an expert in using masks to make any piece of art look great

I Made 36 How Kevin Roodhorst explains how he

created his dynamic VIPER Elite Series

I Made 42 How How Kati Hoofartné created the

exciting digital painting 2017-09-29

Subscribe today and you can

SAVE 49% Turn to page 34 to get this amazing deal. US page 74

Tutorials with shapes and 22 Compose masks

Build up a futuristic composition with shapes and abstract imagery

a 3D basketball 28 Create match

Combine a range of techniques for a dynamic photomanipulation

painterly effects 38 Achieve with brushes

Combine the use of high-flow brushes and the Smudge Tool to create a convincing paint effect

a fantasy mushroom 44 Create world

YOUR FREE photoshop resources are here! ✔ This issue: frame mockups, overlays,

textures and more ✔ Plus files to follow the tutorials ✔ Free and ready for you to download today!

Use photomanipulation techniques to combine reality with fantasy

colour with 88 Splash Photoshop Express

Use easy filters and adjustment layers to turn your mobile snap into a striking portrait

I Made 48 How Discover the process Alina Sliwinska followed in order to create her beautiful Forgotten Valley

The Best of 2017 50 SPECIAL: We select the best artworks we’ve featured this year, and get added insight from their creators

focus 60 Project Ladislas Chachignot takes us on a


ride with his Easy Rider illustrations

90 Reviews Check out our latest hardware, software and book reviews

interview 96 Portfolio We delve into Andrey Gordeev’s

creative, darkly humorous mind

98 Reader interview

Raqee S Najmuldeen shows us his varied creative work


Follow us on

Twitter @pshopcreative


Advanced Photoshop

a watercolour62 Blend inspired portrait

Use Wet Media brushes, layer masks, blend modes and some nifty features to fashion a colourful, painterly portrait

a low-poly world 68 Build Turn everything in an image

low res, without the aid of any kind of 3D software




master the art

of masks

50 28


Elements creative to know the 76 Get adjustment layers

Master the quick tweaks of Elements and improve your images

a sky 82 Replace Brighten up your shots with a vibrant sunset

surreal art 84 Compose a book cover Learn how to work with 78 Design Learn the tips and tricks of masks to create a fantastic great book cover design



Free with your magazine Instant access to these incredible free gifts… Backgrounds

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Use the stylish Zero This pack of textures typeface in your poster can give your artwork for a unique touch. a grungy punch.

Asphalt textures

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trending images

Check out some of the most popular artwork that’s been rocking the internet over the last few weeks, and take inspiration from what’s currently trending There’s nothing more inspiring than surfing the internet and seeing what other artists are creating, and we encourage you to do so. Here are some of our favourite pictures that caught our attention recently, from some of the world’s most exciting artists and designers.

The three-dimensional aspect of this artwork is captivating; we love Julia’s use of ordinary Photoshop brushes to create something that looks dynamic and real. We’re not alone either; Wacom has featured her work in its gallery online.

Julia Molchanova

All of my illustrations are made with Photoshop; this material sphere isn’t an exception. They were painted with two standard brushes, soft and hard. Overlay and Multiply were used for more saturation on the colours and some cartoon stylisation for objects.

Alex Dos Diaz

I use Photoshop daily for all my illustrative and design work. The Selective Color adjustment layer was a huge help while working on this piece, Mithridates VII, which is part of my personal project, The Ghost Alchemist.

Sometimes Photoshop is merely a tool to improve on what you’ve drawn on paper. Alexis’s work is testament to that, and this is a magical example of it: it’s been featured by Behance and viewed by 16,000 people.

Alexis Marcou

Alex has had over 70,000 views for his fantasy artwork online, and it’s easy to see why. This is one of our favourite pieces we’ve seen from him; we love the precision and detail in his artwork.


This is one in a series of illustrations made with pencil and Copic Markers. Photoshop was used to clean up the final version and make adjustments to the colours. Many adjustment layers were used and parts of the drawing were slightly sharpened or blurred.

Eric Hibbeler

On this piece I took full advantage of Photoshop’s non­destructive workflows. Keeping characters, lighting and rim lighting on distinct layers or clipping masks kept things editable while retaining organic, textured silhouettes.

This fiercely meticulous digital painting is proof of how important layers are when working with brushes. This piece was selected by Behance’s Illustration gallery, and we think it’s fantastic.

Lena Steinkühler

This image was generated and rendered in Cinema 4D. But for the editing part of the process, I used Adobe Photoshop to change and add colours, light effects, reflections and shadows.

Glenn’s work has a touch of the retro about it, but that hasn’t stopped him racking over 700,000 views online and having his work featured by Photoshop’s online showcase.

Glenn Wolk

http:// glennwolk

My design process usually starts with a watercolour painted in black and white. I then scan the design into Photoshop, where I clean up the art and typography, work on the Levels and often add colour.

Many 3D artists use Photoshop for texturising and colouring their work, and Lena’s Prisma piece is a great example of that. Featured by the Student Show before, her work pushes the boundaries of 3D and feels warm and realistic.


Readers’ Images Welcome to an inspirational round-up of great Photoshop artwork created by none other than your fellow readers

get in touch

Send us your images now for the chance to appear in future galleries Create your own gallery online Upload your images to Facebook Search PhotoshopCreative Tweet us your creative artwork @PshopCreative

Alternatively, you can email:

Christine Roy


I started the process by creating a moodboard to help choose a colourful palette and I then did some research on transport. I created a linework of all the elements together, created the colour mockup and later added the details, shading and texture while perfecting each layer.

Ann Wehner

This piece was created in Photoshop CS6 using Curves, Color Lookup tables, Brightness/ Contrast, Levels adjustment layers and layer masks, before I made a merged copy, which I then took into Topaz Adjust and Topaz Lens Effects to finish off.

Raphael Andrade

https://www. photoshop creative.

I used dark blending tones and blend modes with elements of the universe, to create an environment that felt like a surreal dream. The Screen blend mode was key in removing the dark pixels from the stock images.


David Pavlik

My main goal was to achieve a strong and confident female portrait. I painted her face, retouched her eyes and created the jewellery. For a final touch I added a rose and created a cold feeling.

Jonathan Schieffer


This image comprises 23 layers, six textures and 11 different stock images. I blended it all together with clipping masks. Each texture also has an adjustment layer attached to further blend it.

Fadi Ajjan https://www. photoshop user/fadi-art

The artwork was designed by first duplicating a photo and rotating it 90 degrees before I added some clouds and birds, and added the light and changed colour.


Readers’ Challenge We challenged you... In Issue 159, we challenged you to get creative with the theme of ‘liquid’. You were allowed to create whatever you wanted, so long as it incorporated the theme somehow.

Upload your images to Jonathan Schieffer

Endless Circle The theme of liquid is central to this image! Masks and blend modes were key in placing the water inside the glass.

Reader Challen s’ winnege r

This issue’s challenge... Think you can do better? Prove it! Next issue, the theme is ‘STYLE’. We don’t mind how you incorporate it into your image, just be as creative as you possibly can! Head to and simply hit the Challenge link. Closing date: 1 February 2018.


This issue, one lucky winner will win a copy of AKVIS’s awesome Worth Charcoal, worth $69! Turn any photo into charcoal in just a few clicks and create amazing digital art effects with this great software.


Honourable mentions See some honourable mentions from this issue’s challenge at



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Photoshop Creative 161 (Sampler)  
Photoshop Creative 161 (Sampler)  

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